A recent graduate from New York University’s Graduate Musical Theatre Writing Program, Brin Solomon [they/them] is a composer and theatre maker who writes songs full of striking imagery, unusual harmonies, and flowing, lyrical melodies. Their original full-length musical Window Full of Moths has been praised by reviewers for its “extraordinary soul-stirring songs” that “add magic to otherwise common lives”. An active believer in the ideal of the composer-performer, they regularly present their own works as well as the works of others on voice as well as bassoon. Current collaborators include AriDy Nox (Project Tiresias), Aiden Feltkamp (Silver And Stars), and Griffin Candey. Upcoming projects include a song cycle about transfeminine mundanity and a play that’s been described as “agitprop for Julia Serano”.

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This is it. Tomorrow, I clamber into my car into my car and drive off into the sunrise, leaving LA behind for . . . well, I’m not sure how long. Two years at the very minimum. Almost certainly longer. Very plausibly, forever.

Let’s be real, this was pretty much inevitable. Music Mondays very deliberately don’t have a theme or central organizing principle (beyond being music I like), but still, there are patterns. Twentieth–Century works, works a little off the beaten path, bassoon features — these are all things I’ve come back to again and again. So how better to wrap up the last Music Monday with an off–the–beaten–path work for solo bassoon from late in the most recent century?